The Proclaimers "Born Innocent" (Preserve Records) Folk-rock 1/2 star
How many more miles must we walk through what's left of The Proclaimers' dwindling career? The brothers Reid form the front line of the Proclaimers sextet. You might remember identical twins Craig and Charlie from their ridiculous video for their hit single "I'm Gonna Be (500 miles)," in which they bopped heads in an Abba-esque disaster that left us feeling like the bullies laughing at the retarded kid.
Although "Born Innocent" does feel like a meek attempt at a comeback, the Proclaimers did do something in the 13 years since the 1988 release of their hit album "Sunshine on Leig." They had a song on the soundtrack of 2001's "Shrek." Sadly though, it was a song from the same 1988 album. They managed to record three other albums between their first hit album, and this album, but sad too is the fact that their message has gotten increasingly Christian, alienating many of their fans.
Listening to "Born Innocent" is like getting reacquainted with an old and estranged colleague who was always a little weird. The thick Scottish accents are awkward and embarrassing, not because Scottish accents are inherently so, but because the brothers are aware of their novelty and cash in on at every possible opportunity, even though it wore out over 10 years ago. This is the type of music that headphones were invented for. If this album played publicly it would be difficult to not sing along at some point; it is, after all folk music. It is, however, also ridiculous music. If someone has this album, listen to it for a good laugh, otherwise, stay well away. You'll be thankful if the Proclaimers should become popular again and embarrassing explanations must be made after the inevitable belly flop of their next disappearance.
- AHMED NZIBO
Pleasure Forever "Alter" (Sub Pop) Indie-rock ***1/2
Sometimes-goth, sometimes-awesome San Francisco rock band Pleasure Forever delivers "Alter" as a follow-up to its self-titled release and various singles. At first glance, it's hard to take seriously a band that features its members on the cover standing in a ring of rose petals and looking pensive. Yet Pleasure Forever seems eager to discard some of its dark, brooding sound on "Alter." While some songs are still smeared with black eyeliner in the style of Nick Cave & the Bad Seeds, Pleasure Forever can't be written off too soon. Its just a little too perky for that.
"This is the Zodiac Speaking" and "Tempest II", two of the strongest tracks, are upbeat and mix-tape worthy, boasting the band's keenest weapon: singer Andrew Rothbard. His sharp, reedy voice is clouded by a mic technique throughout the whole album, which is more atmospheric than obnoxious. It contributes to the distant sound that dominates the whole record. All instincts warn against trusting a record full of skulls, roses and fanciful jewelry, but Pleasure Forever packs a decent punch.
- JEN TURNER
Broken Social Scene "You Forgot it in People" (Arts & Crafts/ Paper Bag) Indie-rock ****
Broken Social Scene's 2002 album "You Forgot it in People" shimmers. It opens with a graceful horn over tinkling keyboard on "Capture the Flag" and ends with the sweetly delicate strings on the instrumental "Pitter Pat Goes My Heart." The melodies on this song are just subtle enough to catch your attention when it's on as background music, and once you're listening, you're hooked.
Whether it's the groove of "Pacific Theme" or the jaded thrash of "Almost Crimes," Broken Social Scene deconstructs the pop song to make it into something both casual and ingenious at the same time. Everything is slightly atypical, from the bass lines to the hooks. "I'm Still Your Fag" - not a homophobic epithet but rather an unusual expression of affection - hovers over the end of the album with an acoustic beauty not to be reckoned with, as it sleepily drifts into the finale, "Pitter Pat Goes My Heart."
Yes, this album is gorgeous in every sense of the word, but the Broken Social Scene live show demonstrates this virtuosity. Seeing as how this review could never do the band justice, go see for yourself.
- J. T.
Various Artists "'Barbershop 2: Back in Business' Soundtrack" (Interscope) Hip-hop *
Compilations like this one either sink or swim depending on the talent involved, and "Barbershop 2" boasts the premiere names of hip-hop and R&B; however, no song can clearly be defined as good. Top-notch producers like Dr. Dre, the Neptunes and Lil' Jon must have been asleep at the boards because their usually fresh styles sound anything but. And who thought it was a good idea to put G-Unit and D-12 on the same record? "Let's have the two worst rap crews ever ... on the same album!" It's like rap to get your teeth pulled to. The most blatant display of a lack of talent comes from the collaboration between Mya and rasta-man Sean Paul on "Things Come and Go." Sean Paul's vocals are significantly lower in volume than usual; perhaps producer Jerome "Knobody" Foster wasn't as tone deaf as the horrendous beat would imply.
Despite these obvious problems, there are a few moments worth savoring. Sleepy Brown, most famous for singing the hook on Big Boi's "The Way You Move," offers up a so-so jam. OutKast is also featured on the track, and Andre 3000 rips through an ill verse mentioning the lawsuit served to his group by Rosa Parks. Other OutKast member Big Boi also appears with his familiar rapid-fire rapping style. It is extremely rewarding to hear both members of OutKast on a track together after the duo each recorded solo albums last year. Mos Def shows up on a track with Floetry, and is good as always.
Overall, the few quality guest emcees nowhere near make up for most of this soundtrack's bland worship of mainstream hip-hop and R&B excess. The beats are too crowded and noisy and the singing too throaty and produced. Maybe Jamie Foxx singing isn't such a bad idea after all.
- DANIEL LONGINO
The Crystal Method "Legion of Boom" (V2) Electronica ***
Ken Jordan and Scott Kirkland of the Crystal Method promise "a great beat, a great bass line and a great hook." and they achieve this on their third album "Legion of Boom."
The tracks mesh styles of rock, techno and soul into something that sounds both futuristic and novel. "Born Too Slow" stands out immediately with vocals by California band Kyuss' frontman John Garcia and a cleverly repeated guitar riff and effects. "The American Way" drops a heavier bass and slower beat with violin samples and announcer-like vocals as well as poised vocals by Roots rapper Rahzel.
The Crystal Method's use of crescendo in "I Know It's You" and Middle-Eastern-style vocals combine in a haunting song with surprises and energy. Lisa Kekaula of the Bell Rays offers soulful vocals on the complex "High and Low" and "Realizer," an optimistic adrenaline rusher.
"Weapons of Mass Distortion" shows off with a hard-rock kick and softer technical effect breaks. "Bound Too Long" is a hip-hop dance track with overlapping synthesizers and funky vocals by poet Hanifah Walidah. Walidah later freestyles her poetry on the low-key "Wide Open."
- MICHAEL MENACHEM
Enrique Iglesias "7" (Interscope) Latin Pop *1/2
Enrique Iglesias' album "7" might be an unlucky number for the pop icon. While the Spanish soloist has in the past few years risen above his peers Ricky Martin and Marc Anthony, his dance-pop beats and formulaic sounds are nothing new or interesting.
His new songs don't touch the appeal of past hits "Bailamos," "Escape" and "Hero." The first "7" single, "Addicted" (also in Spanish "Adicto"), cries miserably throughout, and the second single "Not in Love" sounds like it came from a Backstreet Boys' dumpster.
Iglesias' guitarist Rob Davis hits a high note on the uplifting solo in "Break Me Shake Me," which has rock potential but drowns out during the chorus. The vamp on "Free" sounds like a rip-off of "The Joker" by the Steve Miller Band, which proves the continuous theme for pop-oriented musicians to morph into more mature rock and hip-hop sounds.
Fans may enjoy the "Not in Love" remix featuring "Milkshake" singer Kelis. If anything, Iglesias' current album offers no-brainer pop for the adolescent crowd. It's complete feel-good music with mushy lyrics and the classic Enrique vocal emotion.
- M.M.
